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Poetry Kaleidoscope: Guide to Poetry

Scrypt

Scrypt (also known as script but mostly referred to as
text) is a style of (or, the study or discussion of the style of)
contemporary poetry
popular on several hip-hop-oriented Internet message boards. It is
inspired from the lyrics to underground rap music and differs from traditional poetry in that it
heavily incorporates complex and structured
rhyme and
rhyme
scheme, dialect, implied rhythm and
visual wordplay, into a form of
prose
poetry. Also, scrypt is unique in its ability to be used effectively
as a narrative tool. Scrypt pieces can be written to include plots,
characterization, dialogue, and most often are used to make a moral or
social statement.

Technique

The Use of Rhymes

Despite the apparent disdain
Robert Frost
had for "free verse,"
(describing it as playing
tennis with the net down) most modern forms of poetry have ignored the
discipline and structure that accompany rhyming poetry. Among literary circles,
rhyming poetry is often seen as the work of a novice. If any rhyme is used it is
sparse and inconsequential. Scrypt generally depends heavily on the use of
rhyme, which makes it unique and, arguably, more challenging to master.

Writers pain-stakingly search -- and at times, even manipulate -- the English
language to complete disciplined structures. Writers sometimes heavily weave
rhymes throughout their pieces to the point of abstract incoherence. This
apparent "rhyme obsession" of scrypt is partly due to the fact that, unlike rapping, scrypt artists are
not confined by a beat or musical meter. As a result, writers are allowed the
artistic freedom to explore rhymes.

Complex Rhyme Structures

Heavily influenced by underground hip-hop lyricists, scrypt has always
required a greater emphasis on complex rhyme schemes as a sign of skill and
ability. These rhyme patterns include:

outer rhymes (rhymes appearing at the end of lines), (e.g
Embrace the hallow face of sorrow… script them in serials/with the
hellhounds on you, you should have plenty material, )[1]

"kick-backs" (rhymes that bounce from outside to inside the line)
(e.g,a living legend' giving peasants petty lessons,
using theft as weapons/death, don’t let in, breath is air
breathed from other dimensions,)[3]

"carry-overs" (schemes that connect couplets with different rhymes), ect.
(e.g fell in love and experienced the hellish fun/devils run around with
spirits with a spell or some/get mail in tons, sell for funds, snort
rails in dozens)

"multisyllabic rhyme" (known among writers as multis or
multies) i.e rhyming more than one corresponding syllable of a phrase
with another, such as "damaged rib" and "savage fib".

As a result of the rigor involved in maintaining rhyme patterns, scrypt
artists sometimes forego using exact rhymes. Often, when supported by strong
rhyme schemes, half rhymes may be employed. Writers often use regional dialects
to make distant words with similar sounds appear to rhyme, such as rhyming
"black" with "cat", or rhyming "mail" with "cell", which sound more similar in
certain dialects, while in others sound completely different.

Flow & Rhythm

Unlike traditional poets, scrypt writers typically don't consider meter very
heavily, although it is very prevalent. As a result, it becomes the writer's
burden to create a rhythm that can be translated from the writer's sub-conscious
to the reader.

Writers who are capable of using even, methodical rhythm created by
connecting rhymes into a recognizeable scheme, line length and structure are
considered to be using good ---flow--- (a term common in poetry). When lines
drag along, separate from each other, or do not seem to be complimentary, the
writer is seen as having a "stretched", or often simple "bad" flow. Some writers
educated in classic poetry may use forms such as
iambic
pentameter.

Visual Wordplay

Another unique aspect of scrypt is its use of visual wordplay, often puns. Visual wordplay is a poetic
tool confined for scrypt art and is written to be read, as opposed to being read
aloud.

In scrypt, there are three most commonly used types of visual wordplay.

Word Fussion, which involves combining two or more words to form an
entirely different word;

Word Fission, which involves dividing a word into syllables and
connecting the different syllables in altered ways; and

Double Meaning, which involves the usage of homophones to subtract
multiple meanings from a single line.

While some writers like to sprinkle their pieces with occasional wordplay,
others have built entire styles and works around wordplay, creating complex and
intricate lyrical puzzles. The usage of visual wordplay is also what separates
scrypt from the audio performance of hip-hop rapping and spoken word poetry.

KiStyling

The practice of KiStyling, or key styling (a play of
freestyling),
evolved from a text version of
battle rap and
battle writers' need to ensure the authenticity of their opponents' text. Online
there is no real way to make sure another writer isn't simply taking someone's
work to use in a battle, (called biting in hip-hop circles), so the
spontaneous creation of rhymes and concepts from given cues (such as writers
trading several words to use in their verses) developed.

This practice spread to all other aspects of scrypt and soon the idea of
KiStyling became a staple for writers as a way of impressing upon readers their
skill and mental abilities.

The concept of spontaneous creation is not new to poetry. The
philosopher Plato argued that true poetry cannot be planned, but instead follows
immediately upon inspiration. Similarly, English romantic poet William
Wordsworth agreed saying that "All good poetry is the spontaneous overflow of
powerful feelings." It is in that same vein, that most scrypt writers believe
their best work comes when they write everything down in one sitting. Some
writers choose to edit their material once written, others choose to present
their work as is; mistakes, typos
and all included.

Speed also varies depending on the writer. Some artists are able to complete
a line per minute, and can create a 50 to 60 line story in under an hour, others
may take considerably longer. For many, the key is to simply finish the piece in
the one sitting.

KiStyling is not to be confused with freestyling, which is confined to
rapping. KiStylists, i.e writer's who choose to limit their method of writing
soley to spontaneous creation, are allowed considerably more time than rappers.
As a result, "Ki'd" pieces are sometimes held to higher artistic standards.

History

Scrypt has been known to exist since the mid-1990s, however the term "Scrypt"
or as it is used in this article was not coined until 2005, on the (currently
defunct) hip-hop Web site B-boys.com. The term "text" is the most common and
oldest term for this form of poetry. It was started by young hip-hop enthusiasts
who began using the Internet as a means of networking with others involved in
their local scenes. Many of the original writers were young people attempting to
start career's in hip-hop music, but lacked the time, money, equipment, or
opportunity. For these individuals, the Internet offered them a medium to
practice writing and get feedback on their poetry. Others, who had been able to
broker themselves small recording deals, or who were shopping demos, joined the
communities as a way of promoting themselves. It was from this artistic melting
pot that text evolved. Several writers have even been able to publish their
hip-hop styled poetry.

Nevertheless, there is currently not a financial market for the publication
of scrypt writing, many underground (and also a few mainstream) rappers were
originally text writers. One significant example is the Chinese-American rapper Jin, who
was originally a member of the message boards
Rapmusic and Holla-Front. Holla-Front now partially serves as a fan forum for him.

"Scrypt", or text-writing as it is more commonly known as, is an ever-growing
area or style of rap battling. Particularly on the internet it is used for some
as a stepping stone towards being a real artist, or as a means of increasing
one's way of battling, to broaden one's skills. A lot of text-battlers are well
known on sites, like Lay Doubt, D.Zaster, $pitacular and M~M from
RapBattles. John Hensley, Allah, ClasSick, and Richard Corey from ProjectRhyme.
Mimesis, 9th Degree, Nick Fletcher, JTR and hotshh! from RapVerse. These few, along with so many others are setting the trend for
newcomers who want to either get into text-battling for their own interest, or
use it as a means to learn something new about hip-hop and rap battling.